Analog Transparency, and that Wonderful Feeling of Being There

 Hot Stamper Pressings of the Music of Neil Young Available Now

UPDATE 2026

Click on the link to see what we typically say about a vintage After the Gold Rush, a record, by the way, we almost never have in stock.

As you might imagine, the right early pressings are tough to find in clean condition. I suppose that’s the main reason audiophiles and music lovers buy these ridiculously bad sounding reissues — at least they’re new and quiet.

For our review of the Heavy Vinyl After the Gold Rush we noted:

Cleverly the engineers responsible for this remaster seem to have managed to reproduce the sound of a dead studio on a record that wasn’t recorded in one.

This pressing has no real space or ambience. Now the album sounds like it was recorded in a heavily baffled studio, but we know that’s not what happened, because the originals of After the Gold Rush, like most of Neil’s other albums from the era, are clear, open and spacious.

In other words, they are transparent. You can easily hear into the record all the way to the back of the studio.

You hear all the space surrounding the players.

Modern records, like the recent [well, 2009] After the Gold Rush are almost always opaque and airless. We can’t stand that sound. In fact it drives us crazy.

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Eat Your Spinach

Hot Stamper Pressings of the Music of Miles Davis Available Now

I recently wrote about Bitches Brew. A few excerpts:

The staff may or may not like these kinds of records, but I sure don’t. To be honest, Bitches Brew fits just fine into a section I like to call “albums I can live without.” The world is full of them.

Music is deeply personal. If you don’t feel the need to like what other people like, you and I should get along just fine.

This is music for those who want to be challenged. That’s as true today as it was 50+ years ago when the record came out.

I still don’t care for it though. In my defense, allow me to fall back on the wisdom of de gustibus non est disputandum.

A fellow left me this comment:

Really enjoyed this piece on ‘Bitches Brew’, your take on the album’s density, texture, and restless energy was a great read. It’s fascinating how Miles managed to create something that still feels both challenging and endlessly rewarding all these years later. I especially appreciated the way you framed its impact beyond just jazz, because that’s exactly why the album keeps drawing people back in. I also run a small blog with a few articles about Miles Davis, I hope you’ll take a look, I’d appreciate it.

I thought that it deserved a reply and came up with this:

Dear Sir,

The records we sell must stand the test of time. Can we say that Bitches Brew stands the test of time? In some ways, yes, absolutely. People are still writing about it. People are still buying it.

But is anybody sitting in a room, by himself, facing two speakers with the lights down low, and actually able to enjoy the music enough to get through all four sides of it? Let me put it as nicely as possible: the most likely answer would be “not many.”

We’re looking for customers who will pay hundreds of dollars for an album. One album. They typically do so with the understanding that they will want to play such an album over and over again. Maybe even become obsessed with  it.

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Letter of the Week – “Wanted to drop you a note and let you know [I’m] not a skeptic any more.”

More of the Music of Led Zeppelin

Letters and Commentaries for Led Zeppelin IV

One of our good customers had this to say about some Hot Stampers he purchased recently:

Hey Tom, 

Wanted to drop you a note and let you know you have me now not a skeptic any more.

Case in point, over the 12 days of Christmas I acquired an [original] Led Zeppelin IV from you. I also received one from a family Member.

You are absolutely correct in that not all pressings sound the same.

I played both copies in a shootout and yours hands down was the better of the two.

The most recent purchase has me sitting staring at my speakers in amazement.

Both the Rumours and the But Seriously Folks are AMAZING!

Kevin

Kevin,

Thanks for taking the time to prove that the stampers are not the end-all and be-all of top quality sound.

We love it when our customers take the time and make the effort to do their own shootouts, especially when we win, which is what happens roughly 99% of the time.

Having an original pressing doesn’t guarantee you the best sound, but we sure as hell do.

Best,

TP

London Records Takes You on A Journey Into (Potentially Very Good) Stereo Sound

Decca and London Hot Stamper Pressings Available Now

UPDATE 2025

This was written a very long time ago!

INSANELY GOOD vintage Decca sound from 1958 — bigger, richer and more Tubey Magical than 9 out of 10 (or more!) records we’ve ever played from the pre-’60s early stereo Golden Age. How they got this one so right is beyond me.

We were sorely tempted to grade it White Hot, but chose instead to err on the side of modesty and call it A++ to A+++ or better (which is practically White Hot when you think about it).

Can it be that THIS was the first stereophonic sound music lovers of the world were exposed to on LP? (Stereo tapes may have existed in 1954, but they had to wait until 1958 to be transferred to vinyl.)

Could we possibly have fallen so far in only fifty years?

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Letter of the Week – “Let’s just say the physiological experience was absolutely terrific.”

Hot Stamper Pressings of the Music of The Rolling Stones Available No

One of our good customers had this to say about a Hot Stamper copy of Let It Bleed he purchased recently.

Hi Tom,

Just a quick note to say that I’ve never been more engaged with the music of Let It Bleed than yesterday when I heard a 3+ side one.

Let’s just say the physiological experience was absolutely terrific.

I don’t need to go on about the sound, as it was simply the best I’ve ever heard. So transparent!

I am feeling very fortunate to be really enjoying this music the way it was meant to sound.

Michel

Michel,

We like to think that the White Hot Stamper pressings we offer are the ones that take the music to another level, typically beyond where the listener (and that even includes us) thought it could go.

It seems that you had the same kind of revelation that many of our customers have had when they finally hear a famous recording sound the way they had always wished it could.

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Herold-Lanchbery – La Fille Mal Gardee (Excerpts) / Lanchbery

More Classical and Orchestral Recordings

  • This early London pressing (only the second copy to ever hit the site) of Lanchbery’s sparkling orchestral arrangement of Herold’s 1828 score boasts incredible Nearly Triple Plus (A++ to A+++) grades from start to finish – just shy of our Shootout Winner
  • It’s also remarkably quiet at the high end of Mint Minus Minus, a grade that even our most well-cared-for vintage classical titles have trouble playing at
  • So transparent, dynamic and real, this copy raises the bar for the sound of ballet music on vinyl
  • A record like this lets you get lost in the world of its music, and what could be more important in a recording than that?

The best sounding quiet copy we have ever heard!

If you are looking for quiet vinyl, you will have a hard time finding it on this title.

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Giant Steps Is Another in a Very Long Line of Disappointing Rhino Remasters

Hot Stamper Pressings of the Music of John Coltrane Available Now

UPDATE 2026

This review was written in the early 2000s, long before we had enough data to recognize just what a hack Kevin Gray would turn out to be, remastering one awful sounding record after another for the next twenty years.

His list of failures is surely one of the longest in the business. Of course, we can only guess about most of them, as we are not in the business of playing junk Heavy Vinyl. We much prefer the business we are in: selling the best sounding vintage pressings of the greatest albums of all time.

Reviewing an awful pressing such as this is simply a service we offer to help audiophiles from throwing away their money, at least those audiophiles who have not bought the hype surrounding this incompetent engineer’s consistently shameful work.

Scroll down to see proof that somebody actually paid 80 bucks for this lousy record, along with the rave reviews from a few of those who flushed their money down the toilet. What could be sadder?

Our 2003 Review

Mastered by Kevin Gray, this record has what we like to call ”modern” sound, which is to say it’s clean and tonally correct for the most part, but it’s missing the Tubey Magic the originals and the good reissues both have plenty of.

In other words, it sounds too much like a CD.

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This Is Why We Love Rudy Van Gelder’s Recordings from the 70s

Hot Stamper Pressings of Recordings by Rudy Van Gelder Available Now

The really good RVG jazz pressings of All the Kings Horses sound shockingly close to live music — uncompressed, present, full of energy, with the instruments clearly located and surrounded by the natural space of the studio.

As our stereo has gotten better, and we’ve found better pressings and learned how to clean them better, his “you-are-there” live jazz sound has begun to impress us more and more.

Obviously the credit must go to Rudy Van Gelder for recording and mastering the album so well.

Contrary to what you may have read, the early-70s were a good time for Van Gelder.

All the King’s Horses from 1973 is an amazing Demo Disc for a large group jazz ensemble, especially when played on big speakers at loud levels.

But it only sounds good on the copies that it sounds good on, on the pressings that were mastered, pressed and cleaned right, a fact that has eluded most jazz vinyl aficionados interested in good sound since the advent of the LP.

But not us. We’ve played the very special pressings that prove the album can sound amazing.

The best early pressings are spacious and full of life, with virtually no distortion. Of special note, our shootout winning copy had amazingly articulate bass which brought out the undeniable funkiness of the music in a way that no other copy did.

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Bartok – Music For Strings Percussion And Celeste / Marriner

The Music of Bela Bartok Available Now

  • A vintage copy of this classical Masterpiece, here with solid Double Plus (A++) sound on both UK Decca-pressed Argo sides – exceptionally quiet vinyl too
  • Clear and transparent, with huge hall space extending wall to wall and floor to ceiling, this is the sound that the modern reissue utterly fails to reproduce
  • An abundance of energy, loads of detail and wonderfully textured string tone – everything you want in a top quality orchestral recording is here, and more
  • We surveyed a large group of pressings containing this work, and in the end Marriner’s reading from 1970 had the best sound and the best performance of all that we played
  • “… one of the best-known compositions by the Hungarian composer Béla Bartók.”
  • There are about 150 orchestral recordings we think offer the best performance coupled with the highest quality sound. This record has earned a place on that list.

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Robin Trower – Long Misty Days

More Rock and Pop

  • Trower’s fourth solo studio album debuts on the site with STUNNING Shootout Winning Triple Plus (A+++) sound from first note to last – remarkably quiet vinyl too
  • This glorious early UK pressing is huge, rich and powerful, with guitar solos that soar like few others you’ve heard
  • If you want to make your speakers disappear, this is the album that can do it
  • Brilliant engineering by Geoff Emerick at George Martin’s AIR studios – it’s shocking to contemplate the idea that he became an even better recording engineer in the 70s, post-Abbey Road (for which he won a Grammy!)

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